No Handcuffs

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Changing labels from Verve to Warner Bros. and dropping any connection to his neo-bop past, trumpeter Nicholas Payton has crafted a funk-jazz album that unabashedly resurrects iconic trumpeter Miles Davis' wah-wah-laden fusion experiments epitomized by his 1969 opus, Bitches Brew. More slavish to the period than trumpeter Wallace Roney's No Room for Argument, but no less hip-hop-influenced than trumpeter Roy Hargrove's Hard Groove, Sonic Trance is nonetheless far from your average major-label jazz release. Featuring saxophonist Tim Warfield, pianist Kevin Hays, bassist Vicente Archer, drummer Adonis Rose, and percussionist Daniel Sadownick, the group gains much au courant hip-hop aestheticism from the addition of drummer/producer extraordinaire Karriem Riggins…

The debut English album from Prince Royce opens with a razor-sharp electro beat, a pimpin' Snoop Dogg appearance, and the first Anglo couplet to ever come out of the bachata superstar's mouth: "I like you talking dirty/I like your filthy love." Those lines come from the sexed-up highlight "Stuck on a Feeling," while the album's follow-up single, "Back It Up" with Jennifer Lopez, is a steamy ode to butts that belongs next to "Baby Got Back" in the Sexy Club Tracks Hall of Fame. Double Vision is decidedly in the post-R. Kelly, post-Miguel land of R&B, getting girl crazy during its title track (which should be the new strip club standard for introducing two-for-one dances) and then attacking the hips in a more a traditional style with the lustful Latin number "There for You."

By the time Cutting Crew released their second album in 1989, they were viewed as irrelevant by both critics – who always despised them anyway – and the fickle public that elevated "(I Just) Died in Your Arms" and "I've Been in Love Before" onto the pop charts two years earlier. The cold shoulders which welcomed The Scattering were most likely due to the lack of immediately catchy songs; nevertheless, while The Scattering doesn't have ear candy like the band's hit singles, the music is less-blatantly commercial and more personal. It's still slick stuff – big '80s synthesizers, glossy FM radio guitars, in-your-face drums – but Nick VanEede's vocals have a frosty glow that creates a mood and sustains interest.